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DISEMPOWERED ‘OTHERS’ AND THE FEMALE SOLIDARITY IN SUE TOWNSEND’S BAZAAR AND RUMMAGE (1982)

Cilt: 4 Sayı: 2 1 Aralık 2015
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DISEMPOWERED ‘OTHERS’ AND THE FEMALE SOLIDARITY IN SUE TOWNSEND’S BAZAAR AND RUMMAGE (1982)

Öz

The patriarchal order of the society pushes the woman behind the surface mostly by regarding them as the secondary sex. As a result of this, they are ‘othered’ through gender and sexuality or economic and social issues, and thus feel repressed because their femininity, sexuality and even individuality are denied in order to maintain only the continuance of the patriarchal order within society.

Yet not only men but also women discriminate against the female as ‘the other’ by inheriting this patriarchal ideology in their consciousness due to the normalisation of the constructed process of othering. Sue Townsend in her play Bazaar and Rummage (1982) describes this construction and internalisation of otherness imposed by both men and women. In the play, a group of agoraphobic women try to confront their fears by organizing a rummage sale through which the origins of their illness are explored. Agoraphobia is a symbolic symptom to represent what these women have gone through as a result of the repressive patriarchal order and how the fear of ‘outside’ – which is regarded as a man’s place, not woman’s – makes them psychologically crippled since this whole system restricting and oppressing them in so many ways do not allow women to have their own identities and makes them subjected to this system. However in the end, Townsend promotes a female solidarity to heal these women’s psychological wounds by going against their fear and anxiety

Anahtar Kelimeler

Othering,imposition and internalisation of the otherness,repressive and inherited patriarchal order,agoraphobia,female solidarity

Kaynakça

  1. 1. Townsend, Sue. (1996). Bazaar and Rummage. Plays:1. London: Methuan Drama. Secondary Sources: 2. Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. (1998). Key Concepts in Post-Colonial Studies. London and New York: Routledge.
  2. 3. Aston, Elaine. (1999). Feminist Theatre Practice: A Handbook. London and New York: Routledge
  3. 4. Aston, Elaine. (1995). An Introduction to Feminism and Theatre. London and New York: Routledge.
  4. 5. Beauvoir, Simon De. (1956). Introduction. In H. M. Parsley (Trans. and Ed.), The Second Sex. London: Lowe and Brydone.
  5. 6. Billington, Michael. (2013). Margaret Thatcher Casts a Long Shadow over Theatre and the Arts. The Guardian. Retrieved from
  6. 7. http://www.theguardian.com/stage/2013/apr/08/margaret-thatcher-long-shadow-theatre
  7. 8. Braidotti, Rosi. (1994). Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory. New York: Columbia University Press.
  8. 9. Butler, Judith. (1988). Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal 40.4, 519-531. Retrieved from http://www.jstor.org/stable/3207893?seq=1#page_scan_tab_contents
  9. 10. Butler, Judith. (1990). Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge.
  10. 11. Capps, Lisa and Elinor Ochs. (1995). The Agony of Agoraphobia. Constructing Panic: The Discourse of Agoraphobia. Cambridge: Harvard University Press.

Kaynak Göster

APA
Şimşek, T. (2015). DISEMPOWERED ‘OTHERS’ AND THE FEMALE SOLIDARITY IN SUE TOWNSEND’S BAZAAR AND RUMMAGE (1982). İnönü Üniversitesi Uluslararası Sosyal Bilimler Dergisi, 4(2), 152-160. https://izlik.org/JA75YK79SW